3 Big Sky, Shapley Common

(Dartmoor), 2018
mixed media/paper
62 x 81 cms 243⁄8 x 317⁄8 ins
New landscape works

David Tress tears apart the landscape and almost

forces his way into it. His paintings and drawings
are like pages ripped from the places he has
visited: like turfs dug from a field or a hillside, at
times they are almost three dimensional in their
form. He is no passive bystander; he is both artist
and archaeologist. He inhabits – physically and
intellectually – the places he paints. The works
that result from this existence, this experience
in the landscape, are about history, memories,
relationships – but they are not topography; they
do not attempt to accurately describe the physical
details of a particular place, though they are clearly
born of those places. What Tress explores is the
physical experience of being in a landscape, of
responding emotionally to it.

4 The Big Oak, 2018

graphite/paper
104 x 126 cms 41 x 49 5⁄8 ins
Hence this is not simply Tress’s own personal
experience of the place, but his reaction to
the history of these places, the centuries – and
sometimes even millennia – of human activity they
have recorded upon them. They are about the past
in the present, and the present in the past. ‘Paintings
are complex things,’ he observes, ‘they gather lots
of ideas … They are never just landscapes – they
always carry some freight … a personal resonance’.

That personal resonance is vital. Tress now lives

in Haverfordwest, the small riverside town in
Pembrokeshire that was once the home of Gwen
and Augustus John. But though his mother was
Welsh, and south Wales has been his home and the
subject for a great deal of his art since he first moved
there in 1976, he was actually born in Wembley,
west London, in 1955. His family was not especially
artistic, and from a young age moths and butterflies
were (and still are) a fascination for him. Biology he

5 Ullswater, 2018
graphite/paper
30 x 41 cms 113⁄4 x 161⁄8 ins

6 Cross and Land. St Clether,

Cornwall, 2017
watercolour and mixed media/paper
39 x 30 cms 153⁄8 x 113⁄4 ins

7 New Year (The Sky Washed

Eggshell Blue) I, 2018
Mixed media/paper
52 x 58 cms 201⁄2 x 227⁄8 ins
describes as having been ‘this marvellous romantic
thing’, and his early academic direction was towards
science. But he could always draw well, and when
he discovered that biology was not quite all that he
had expected, he turned towards art instead.

An early inspiration, when he was still studying for

O Level art at school, was a visit to an exhibition
of watercolours by the early nineteenth-century
English landscape artist John Sell Cotman. ‘It
was completely new to me but I was immediately
taken by it – I found there was something
visually exciting about it. His wonderful sense of
simplified composition, placement, structure – I
was intrigued.’ Not long after he also discovered
Abstract Expressionism – the American artists
Robert Motherwell and the ‘action painters’ Willem
de Kooning and Jackson Pollock. In many ways his
work today is almost a collision between those two
early artistic encounters.

8 Kirkstone Pass, 2018

graphite/paper
29 x 42 cms 113⁄8 x 161⁄2 ins

9 Cross and Land. Sancreed,

Cornwall, 2017
watercolour and mixed media/paper
39 x 30 cms 153⁄8 x 113⁄4 ins

10 The Year Ending II, 2018

mixed media/paper
50 x 62 cms 19 5⁄8 x 243⁄8 ins
He aims at the latters’ rawness and honesty, whilst
continuing to follow the fundamental traditions
and concerns of British Romanticism. (It is perhaps
no surprise that Graham Sutherland also found
inspiration in the landscape of Pembrokeshire.) He
describes his own work as ‘reckless, but deeply
disciplined,’ founded upon forty years of studying
the tonal relationships that are key to the success
of his paintings. These deep artistic foundations
are clearly in evidence in the extraordinary
measured drawings he made whilst still a student
in the early 1970s, as well as in the meticulously
painted paintings he produced in the early 1980s:
landscapes and interiors in watercolor and oil of
incredible vision and intensity.

His striking recent drawing exhibited in this current

exhibition, ‘Big Oak,’ is something of a return to
those roots (if you will pardon the pun), and he
thinks it will prove ‘a bit of a surprise, too, for many

11 Old Sarum, 2018

graphite/paper
35 x 47 cms 133⁄4 x 181⁄2 ins

12 Cross and Land. Howmore,

South Uist, 2017
watercolour and mixed media/paper
30 x 39 cms 113⁄4 x 153⁄8 ins

13 The Year Ending III, 2018

mixed media/paper
45 x 58 cms 173⁄4 x 227⁄8 ins
people who are not aware of my detailed early work
and have only seen the much broader recent pieces.
I didn’t particularly plan to work in this sort of detail
again,’ he admits, ‘but it was an image that I had
in my mind and which I very much wanted to make,
and when I began work on it, it seemed to demand
the sort of concentrated analysis and exploratory
drawing that is evident in the finished piece.’ It is
a work of daring confidence and assurance, and he
calls working in black and white like this ‘viscerally
exciting.’ And it is interesting to see the way in
which it evokes the work of the black and white
photographers he loves, in particular Bill Brandt and
Edwin Smith.

By the mid 1980s Tress was moving away from the

hyper-realist technique that had already won him a
dedicated following as well as considerable critical
attention, moving steadily in the direction that we
find him today: an action painter at work in the

14 Ullswater from Glen Ridding, 2018

graphite/paper
30 x 40 cms 113⁄4 x 153⁄4 ins

15 Cross and Land. Horn’s Cross,

Dartmoor, 2017
watercolour and mixed media/paper
39 x 30 cms 153⁄8 x 113⁄4 ins

16 Landfall, St Columba
(Isle of Mull), 2017
mixed media/paper
59 x 78 cms 231⁄4 x 303⁄4 ins
British landscape. The impact of seeing paintings
by David Bomberg and Frank Auerbach in the 1980s
was significant. ‘Hair-raisingly good’ is the phrase he
uses for that encounter.

‘Definite’ and ‘vigorous’ are thus words that crop

up frequently in a discussion with him about art –
both in his own work and that done by those artists
he admires. These are the elements he seeks to
achieve, whilst at the same time enjoying what he
calls the ‘struggle’ to achieve it. It is hard work, to
make art like this. But ‘through your hard work,’ he
explains, ‘you put spirit into something.’ He uses
the analogy of an Anglo-Saxon blacksmith, working
at his anvil upon a pattern-welded sword, endlessly
beating the rods of iron into shape to create a blade
of extraordinary resilience and beauty, filled with
the spirit of the maker. He aims for a similar spirit is
hammered home in his own work – it is something
he strives for, but knows, hopes, he will never quite

17 Summer, A Quiet Day, 2018

graphite/paper
36 x 43 cms 141⁄8 x 167⁄8 ins

18 Cross and Land. St Buryan Churchyard, 2018

watercolour and mixed media/paper
29 x 38 cms 113⁄8 x 15 ins

19 Land and Sea (Winter Spring), 2018

mixed media/paper
52 x 64 cms 201⁄2 x 251⁄4 ins
20 Clegyr Boia and Thorn, 2018
graphite/paper
42 x 62 cms 161⁄2 x 243⁄8 ins
reach in its most perfect form. Because it is in the
process of reaching that he is always discovering.
That telling phrase ‘the hard-won image’ was almost
made for him.

‘Palimpsest’ is another word Tress likes to use to

describe his paintings and drawings. ‘A palimpsest,’
as he explains, ‘is – strictly speaking – an early
manuscript that has been almost, but not entirely,
erased for purposes of economy and re-use. The
previous script or decoration remains as a just
discernible and fragmentary record of the earlier
incarnation. What a word for landscape – what
a word for describing the ancient landscape of
Pembrokeshire with its layer upon layer of human
intervention over thousands of years, and its
fragmentary legacy of scars on the landscape – a
sort of cuneiform script, half-erased.’

21 Cross and Land. Bennet’s

Cross, Dartmoor, 2017
watercolour and mixed media/paper
30 x 39 cms 113⁄4 x 153⁄8 ins

22 Cross and Land. Long Tom,

Bodmin, 2017
watercolour and mixed media/paper
29 x 39 cms 113⁄8 x 153⁄8 ins

23 From Meldon Down

(Devon), 2018
mixed media/paper
40 x 48 cms 153⁄4 x 187⁄8 ins
24 The Land (Leaving Winter), 2018
mixed media/paper
50 x 61 cms 19 5⁄8 x 24 ins
A new subject in these latest works, exhibited for the
first time here at Messum’s, are paintings inspired by
an early summer visit to Wiltshire in 2018. It was not
the sort of rural, agricultural landscape Tress had
ever painted before, and he considered it a new
challenge. The broad fields of oil seed rape had not
been in his mind before he went, and as he explains
he ‘never had a reason before to paint these great
slabs of yellow.’ But they proved a perfect subject for
his pictures adding a new dimension of vivid colour,
leading to paintings that almost hum with heat. He
also found inspiration in the road traffic signs that
spring up around these less rural landscapes: ‘nice
graphic things,’ as he calls them, that provide ‘a
sense of the present in the past,’ like the power lines
that he has included in previous paintings. These
markers of modernity are not intrusive – they simply
add to what he calls ‘a vigorously alive landscape.’
The interwar watercolourist Eric Ravilious achieved
a similar thing, happily incorporating the signs of

25 A Bright Cloud, 2018

graphite/paper
41 x 59 cms 161⁄8 x 231⁄4 ins

26 Rape Field, Alton Barnes, 2018

mixed media/paper
32 x 42 cms 12 5⁄8 x 161⁄2 ins

27 Green Land (Rain Near

Moretonhampstead), 2017
mixed media/paper
38 x 53 cms 15 x 20 7⁄8 ins
28 Horn’s Cross,
Dartmoor, 2018
graphite/paper
103 x 152 cms
401⁄2 x 59 7⁄8 ins
modernity and industralisation into his paintings
of the North and South Downs. And in Wiltshire
Tress has revisited a subject that was also dear to
Ravilious’s heart – the chalk figures that dot these
landscapes, in particular the Roundway Hill figure.

And like Ravilious’s work, Tress’s paintings achieve

what he calls ‘a total experience between earth
and sky’. However well they are photographed, the
catalogue images can never begin to convey the full
quality and (literal) depth of the work. For forty years
Tress has ploughed his own furrow. He confesses
that he has been ‘bloody minded’ in following his
own course, of having this ‘gut feeling’ of what he
wanted to do, without knowing where exactly he
was going. He has revelled in an unwillingness to
accept prevailing views of what an artist ought to
do, and he possesses a quiet insistence on making
his own decisions. In doing this, he has achieved
something both remarkable and highly original.

David Boyd Haycock

Author and Curator
November 2018

29 White Horse and Rape

Field, Alton Barnes, 2018
mixed media/paper
33 x 42 cms 13 x 161⁄2 ins
30 Fovant (Rape Field and Hill), 2018 31 Alton Barnes (Right Turn), 2018
mixed media/paper mixed media/paper
31 x 41 cms 121⁄4 x 161⁄8 ins 31 x 40 cms 121⁄4 x 153⁄4 ins
32 Roundway Hill, Rape Fields and Pylons II, 2018 33 Roundway Hill, Rape Field and Pylons I, 2018
Mixed media/paper mixed media/paper
31 x 41 cms 121⁄4 x 161⁄8 ins 31 x 44 cms 121⁄4 x 173⁄8 ins
34 Last Snow (Solva), 2018
mixed media/paper
66 x 85 cms 26 x 331⁄2 ins
35 Blue, Blue, Arriving at Huisinis (Isle of Harris), 2017 36 Uisgneabhal Mor (Clisham in Cloud), Isle of Harris, 2017
mixed media/paper mixed media/paper
32 x 42 cms 125⁄8 x 161⁄2 ins 30 x 44 cms 113⁄4 x 173⁄8 ins
37 Summer Stream, 2018
mixed media/paper
56 x 64 cms 22 x 251⁄4 ins
38 Big Green and Gorse (From Shilstone Tor, Dartmoor), 2018 39 Big Green (From Shilstone Tor, Dartmoor), 2018
mixed media/paper mixed media/paper
39 x 48 cms 153⁄8 x 187⁄8 ins 43 x 48 cms 167⁄8 x 187⁄8 ins
40 Blackfriar’s Bridge and Cranes, 2018
mixed media/paper
48 x 63 cms 187⁄8 x 243⁄4 ins
41 At Shilstone Tor (Dartmoor), 2018 42 A Rainy Day (Near Moretonhampstead), 2018
mixed media/paper mixed media/paper
37 x 46 cms 145⁄8 x 181⁄8 ins 38 x 47 cms 15 x 181⁄2 ins
43 Green, Green (Devon From Meldon Common), 2017 44 Big River (Silver Grey, Lead Grey), 2018
mixed media/paper mixed media/paper
43 x 61 cms 167⁄8 x 24 ins 44 x 63 cms 173⁄8 x 243⁄4 ins
45 Last Snow (Preseli), 2018 46 Last Snow (The Black Mountains), 2018
mixed media/paper mixed media/paper
37 x 49 cms 145⁄8 x 191⁄4 ins 36 x 48 cms 141⁄8 x 187⁄8 ins
47 March Beginning, Rhosson, 2018
mixed media/paper
62 x 83 cms 243⁄8 x 325⁄8 ins
48 Clouds Rising Above Hecla, Beinn Mhor (South Uist), 2017 49 New Year (The Sky Washed Eggshell Blue) II, 2018
mixed media/paper mixed media/paper
32 x 48 cms 125⁄8 x 187⁄8 ins 55 x 57 cms 215⁄8 x 221⁄2 ins
50 Sudden Light (Winter, Carn Llidi), 2018 51 In August, 2016
mixed media/paper mixed media/paper
47 x 67 cms 181⁄2 x 263⁄8 ins 49 x 68 cms 191⁄4 x 263⁄4 ins
52 Moor Edge (Allendale Common), 2015 53 Buttercup Fields (Teesdale), 2015
mixed media/paper mixed media/paper
43 x 61 cms 167⁄8 x 24 ins 47 x 70 cms 181⁄2 x 271⁄2 ins
54 Winter Sun, Winter Sun, 2018 55 Snow at Caerfai, 2018
mixed media/paper mixed media/paper
46 x 57 cms 181⁄8 x 221⁄2 ins 44 x 60 cms 173⁄8 x 235⁄8 ins
56 Small Church (Celebration, Llanhywel), 2017 57 The Year Ending I, 2018
mixed media/paper mixed media/paper
48 x 59 cms 187⁄8 x 231⁄4 ins 51 x 59 cms 201⁄8 x 231⁄4 ins
58 Snow at Solva, 2018
mixed media/paper
44 x 60 cms 173⁄8 x 235⁄8 ins
DAVID TRESS
BIOGRAPHY
1955 Born London,
Harrow College of Art
Trent Polytechnic
1976 Moved to Wales,
Taught History of Art at the University
College of Wales, Aberystwyth
SOLO EXHIBITIONS
1982 Torch Theatre Gallery, Milford
Haven
1987, 1990 Pauline Harries Gallery,
Newport, Pembrokeshire
1988, 92, 99, 2001 Oriel Plas Glyn-y-Weddw,
Llanbedrog, Gwynedd
1991, 94, 2000, 02,
2004, 06, 08, 10 West Wales Arts Centre,
Fishguard, Pembrokeshire
1992 Salon d’Automne, Albi, France
1993, 95, 99, 2001,
2003, 05, 07, 09 Albany Gallery, Cardiff
1994 Taliesin Arts Centre, University
of Swansea
1995, 98, 2001,
2003, 05, 07, 09, 11 Boundary Gallery, London
1997 Travelling exhibition
commencing West Wales
Arts Centre, Fishguard then
to Royal Cambrian Academy,
Conwy and Albany Gallery,
Cardiff
2001 Glynn Vivian Art Gallery,
Swansea
2003 Museum of Modern Art, Wales
2003–05 ‘David Tress. Drawings’.
Travelling exhibition
commencing Brecknock
Museum and Art Gallery,
Brecon; then to Newport
Museum and Art Gallery,
Newport, South Wales;
Midlands Arts Centre,
Birmingham; National Library
of Wales, Aberystwyth;
Guildhall Art Gallery, London;
West Wales Arts Centre,
Fishguard
2005 Denbighshire Arts. Travelling
Exhibition
2005/07 Brian Sinfield Gallery, Burford
2006 Clwyd Theatr Cymru, Mold,
Flintshire
2008–11 ‘Chasing Sublime Light’.
Travelling exhibition
commencing MOMA Wales,
then to Petworth House, West
Sussex; Clwyd Theatr Cymru,
Mold; Gallery Oldham; Keswick
Museum and Art Gallery;
Worcester City Art Gallery
and Museum; The National
Library of Wales; Oriel Ynys
Mon, Anglesey; West Wales
Arts Centre, Fishguard; The
Maclaurin Galleries, Ayr; Stowe
School, Buckingham; Royal
Cambrian Academy, Conwy.
Gomer Press, 2001 Darryl Corner ‘Chasing Sublime Light’.
• ‘Voyaging Out’ poems by Peter Abbs, Salt • The Big Issue • 30 November 2009 Introduction by Ian Jeffrey, 2008
Publishing, 2009. • The Spectator • 11 December 2010 • Review • Artists and Illustrators magazine.
• ‘Moor Music’ by Mike Jenkins Seren, 2010 Andrew Lambirth Articles by Jenny White, April & Dec. 2008
• The Times • 9 June 2012 • Review John Russell • Country Life
SELECTED REVIEWS Taylor ‘New Romantic’ about the ‘Chasing Sublime
2009, 11, 14, 18 John Davies Gallery, Moreton- Maggi Hambling, Julian Perry, Cherry • Daily Telegraph • 18 November 1972 • Western Mail • 8 February 2013 • Review Jenny Light’ exhibition.
in-Marsh Pickles, George Rowlett, Ian Welsh, Jo • Art Review • 11 and 25 August 1989, July 1991 White Mary Miers, May 21 2008
2010 ‘Landmarks’. Victoria Art Welsh. The Art Shop, Abergavenny • La Depeche du Midi, France • 15 October 1992 • Wall Street International • 5 September 2013 • • Tivyside Advertiser
Gallery, Bath. 2008 ‘A Passion for Art’, The Friends of • Uned Gelf / The Art Unit • October 1992 Web article Article by Sarah-Jane Jones, June 3 2008
2011, 14, 16, 18 Beaux Arts, Bath the Glynn Vivian Art Gallery 50th • Western Mail • 23 Sept 1995, 19 July 1997 • • The Spectator • 21 September 2013 • Article • www.resurgence.org web article
2012, 13, 15, Anniversary Exhibition Review: Rian Evans by Andrew Lambirth ‘Truth to Experience’
16, 17, 19 Messum’s, London 2008 Beaux Arts, Bath • Planet, The Welsh Internationalist • No 123 • Prospect • 24 September 2013 • Article by by Jeremy Hooker, Jan/Feb 2009
2008 John Davies Gallery, Moreton-in-Marsh June/July1997 • Review: Jill Piercy David Killen • Golwg
GROUP EXHIBITIONS 2008 Pallant House Gallery, Chichester • Galleries • July 1997 • Review: Clare Rendell • Platform 505.com • September 2013 • Web ‘Stiwdio’r Artist’, Rhagfyr 10 2009
1980, 81 Oriel (Welsh Arts Council), Cardiff • Modern Painters Vol 10, No 2 • Summer 1997 • article by Susan Heywood • Exhibition catalogue
2009 ‘Art Cymru: Modern Art in Wales’,
Review: Robert Macdonald • Cassone • July 2015 • Web – review by Julian ‘The Rude and Beautiful Landscape’. John
1981, 82 Royal Society of British Artists Pallant House Gallery, Chichester.
• Irish Times • 11 June 1998 • Review: Aidan Freeman of monograph ‘David Tress’ by Davies Gallery, Moreton-in-Marsh.
1983–2011 Albany Gallery, Cardiff 2009 The Art Shop, Abergavenny
Dunne Andrew Lambirth. Introduction John Russell Taylor. 2009
1984 ‘Pembrokeshire Artists’, travelling 2010 Beaux Arts, Bath • Western Mail • 2 Sept 1999 • Review: Karen
• Catholic Herald • August 28 2015 • Review by • Exhibition catalogue
exhibition organised by Pembrokeshire 2010 John Davies Gallery, Moreton-in-Marsh Price
Patrick Reyntiens of monograph ‘David Tress’ ‘Landmarks’. Victoria Art Gallery, Bath.
Museums 2010 ‘Retrospective’. Eigse Carlow Arts • Golwg • 16 Medi 1999 • Review: Karen Owen Introduction Jon Bennington. 2010
by Andrew Lambirth.
1984–2012 West Wales Arts Centre, Fishguard Festival, Ireland. • Cambria • Midsummer 2000 • New Welsh Review • October 2015 • On-line • Exhibition catalogue
1985–99 Pauline Harries Gallery, Newport, 2011 Martin Tinney Gallery, Anglesey • The Independent • 27 July 2000 review by Celia Lyttelton of monograph ‘David ‘Earth, sun, wind & rain’. John Davies Gallery,
Pembrokeshire 2012 Messums, London • The Week • 7 April 2001 • Review: Andrew Tress’ by Andrew Lambirth. Moreton-in-Marsh.
Lambirth Introduction – interview with David Tress by
1986 Fulham Gallery, London • Planet • No. 220 winter 2015 • Review by
2012 Brian Sinfield Gallery, Burford. Fortieth
1986–88 Pelter Sands Gallery, Bristol • Western Mail • 13 July 2002 • Review: Karen Ceri Thomas of monograph ‘David Tress’ by John Davies. 2011
Anniversary Exhibition
Price Andrew Lambirth. • Exhibition catalogue
1987–99, 2003 Attic Gallery, Swansea 2016 ‘Romanticism in the Welsh Landscape’
• Golwg • 8 Awst 2002 • Review: Rhian Price • Resurgence • Jan/Feb 2016 • On-line review ‘David Tress. In Search of the Sublime’.
1988–95 Oriel Plas Glyn-y-Weddw, Llanbedrog, MOMA Machynlleth • Planet, The Welsh Internationalist • No 154
by Professor Peter Abbs of monograph ‘David Messum’s Fine Art, London.
Gwynedd 2016 ‘Face to Face: Portraits from the Aug/Sept 2002 • Review: Alistair Crawford
Tress’ by Andrew Lambirth. Introduction by Andrew Lambirth, 2012
1990 Cadogan Contemporary, London/ Andrew Lambirth Collection’ • The New Welsh Review • No 59 Spring 2003 • • Exhibition catalogue
Trumpington Gallery, Cambridge Gainsborough House Gallery, Sudbury, PUBLICATIONS AND ARTICLES
Review: Shelagh Hourahane ‘David Tress. A group of eleven new works’.
1990, 91 Nature Conservancy Council, travelling Suffolk. • The Times • 3 December 2003 • Review: John • Exhibition catalogue John Davies Gallery, Moreton-in-Marsh.
exhibition 2018 ‘The Aborealists’ John Davies Gallery, Russell Taylor Boundary Gallery, London Introduction – interview with David Tress by
Moreton-in-Marsh. • Western Mail • 6 Feb 2006
1991 Vanessa Devereux Gallery, London Introduction: Andrew Lambirth 1995 John Davies. 2012
• Galleries • February 2004 • Review: Sarah
1993 Gallerie Lughien, Amsterdam 2018 ‘Of Yorkshire From Yorkshire’ Ryedale • Exhibition catalogue • Exhibition catalogue.
Drury
Folk Museum, Yorkshire. ‘Ysbrydoliaeth. R S Thomas. Inspiration’ ‘David Tress’. Messum’s Fine Art, London.
1993 Five Artists From Wales, Eleonore
• David Jones Journal • Winter 2004/Spring Oriel Plas Glyn-y-Weddw, Llanbedrog, Introduction by John Russell Taylor. 2013
Austerer Gallery, San Francisco PRINCIPAL WORKS IN PUBLIC COLLECTIONS 2005 • Review: Robert A Newell Gwynedd 1995 • Exhibition catalogue.
1995–2011 Boundary Gallery, London
(Alphabetical listing) • The Spectator • 22 January 2005 • Review: • Exhibition catalogue ‘David Tress. The Freshness of the Day’.
1998 Invited artist, Eigse Carlow Arts • Brecknock Museum and Art Gallery Andrew Lambirth of ‘Critic’s Choice’ exhibition West Wales Arts Centre, Fishguard John Davies Gallery, Moreton-in-Marsh.
Festival, Republic of Ireland, • Ceredigion Museum • The Times • 2 February 2005 • Review: John Introductions: Frances Spalding and Jill Piercy Introduction – interview with David Tress by
1998 ‘Landmarks’, National Museum Wales, • Clare Hall, Cambridge Russell Taylor 1997 John Davies. 2014
Cardiff • The Contemporary Art Society for Wales • The London Magazine • February/March 2005 • Arts Review • Exhibition catalogue.
1999 ‘Mountain’, Wolverhampton Art Gallery • Dyfed County Council, County Hall Collection • David Jones Journa • Winter 2004/Spring 2005 ‘Artist’s Eye’ April 1999 ‘David Tress’. Messum’s Fine Art, London.
2000 Garter Lane Arts Centre, Waterford, (now Carmarthenshire County Council) • Review: Robert A Newell • Royal Mail 1999 Year Book Introduction by Andrew Lambirth. 2015
Republic of Ireland • The Glynn Vivian Art Gallery • Western Mail • 30 Sept 2005 • Review: Kate ‘Royal Mail Millennium Stamps’ 1999 • Monograph
2001 Museum of Modern Art, Wales • The Guildhall Art Gallery, City of London Lloyd • Exhibition catalogue ‘David Tress’ by Andrew Lambirth
• The Museum of Modern Art, Wales • The Spectator • 18 November 2006 • Review: West Wales Arts Centre, Fishguard Published: Studio publications 2015
2002 Beaux Arts, Bath
• The National Library of Wales Andrew Lambirth Introduction: Nicholas Usherwood 2000 • Exhibition catalogue.
2003 Hereford City Art Gallery • Western Mail • 19 October 2007 • Review: • David Jones Journal ‘David Tress’. Messum’s Fine Art, London.
• National Museums and Galleries of Wales
2003, 05 ‘The Discerning Eye’, London • Pallant House Gallery Jenny White • May 2008 • Review: Blake Hall ‘A Diary Remembered, June 1998’ Summer Introduction by Julian Freeman. 2017
2004 ‘Farming and the Welsh Landscape’, • Pembrokeshire Museums • The Artist • June 2008 • Review: Oliver Lange 2000 • Artists and Illustrators Magazine ‘David Tress’
travelling exhibition organised for • Financial Times • May 17/18 2008 • Article: • Monograph Interview with Andrew Lambirth. July 2018
the centenary of the Royal Welsh COMMISSIONS Simon de Burton ‘David Tress’ by Clare Rendell
Agricultural Society • In 2014 David Tress was commissioned by • Antiques Magazine • May 23 2008 • Review: Introduction: John Russell Taylor SELECTED TELEVISION AND RADIO
2005 ‘Tir Lun. Drawing’, Oriel Myrddin HRH The Prince of Wales to paint a picture of Phil Ellis Published: Gomer Press, Llandysul, and West • HTV Film
Gallery, Carmarthen Llwynywermod, his house in Wales • Planet, The Welsh Internationalist • June/July Wales Arts Centre, Fishguard 2002 ‘Three Landscape Painters’ 7 November 1994
2005 ‘Approaches to Landscape’, King’s • Nature Conservancy Council 2008 • Review: David Moore • Exhibition catalogue • BBC Choice
School, Worcester • Development Board for Rural Wales, selector • The Week • 28 June 2008 Museum of Modern Art Wales Introduction: Dr ‘Wrap’ 7 September 1999
Peter Fuller • The Spectator • 26 July 2008 • Review: Andrew Peter Wakelin 2003 • HTV Film
2005 ‘A Winter Journey’, Art Space Gallery,
• One of 48 British artists and designers Lambirth • Exhibition catalogue ‘River Patrol’, featuring artists in Wales
London
commissioned by Royal Mail to design a stamp • The Art Book • August 2008 • Review: Julian ‘David Tress. Drawings’. Travelling exhibition 21 August 2000
2006 Yvonne Arnaud Exhibition, Guildford • BBC Radio Wales
for the 1999 Millennium Stamp issue Freeman Published: West Wales Arts Centre, Fishguard
2006 ‘Different Worlds’, Brian Sinfield Gallery, • Contemporary Art Society of Wales • Country Life • January 7 2009 • Review: Text Andrew Lambirth 2003 ‘First Hand’ 9 July 2002
Burford Anniversary Print Portfolio, 2008 Catherine Milner of ‘Modern Art in Wales’ • The Jackdaw
2006 Twentieth Anniversary Exhibition, • Paintings reproduced on book covers : exhibition. Pallant House ‘Easel Words’ September 2006
Boundary Gallery, London • ‘Frontiers in Anglo-Welsh Poetry’ by Tony • The Spectator • 31 January 2009 • Review: • Galleries Magazine
2006 ‘Landscapes of Wales’, National Botanic Conran, Cardiff, University of Wales Press, 1997 Andrew Lambirth ‘Nuts and Bolts’ about the ‘Chasing Sublime
Garden of Wales • ‘Sacred Place, Chosen People’ by Dorian • Financial Times • January 31/February 1 2009 • Light’ exhibition. Sarah Drury October 2007
Llewelyn, Cardiff, University of Wales Press, Review Jackie Wullschlager • Exhibition catalogue
2006 ‘Critic’s Choice’ an exhibition selected
1999 • Galleries • February 2009 • (Front cover) ‘A Passion for Art’. The Friends of the Glynn
by Andrew Lambirth including work by
• ‘Hen Dy Ffarm: The Old Farmhouse’ by D J • Western Mail • 17 October 2009 • Review Vivian Art Gallery, 50th Anniversary Exhibition,
Craigie Aitchison, Gillian Ayres, Jeffery
Williams, Trans. Waldo Williams, Llandysul, Jenny White 2008
Camp, John Craxton, Robert Dukes,
• Western Mail • 26 October 2009 • Review • Exhibition catalogue